Jascha Heifetz |

Jascha Heifetz

Rubuta zanen tarihin rayuwar Heifetz yana da wahala mara iyaka. Da alama har yanzu bai yi wa kowa bayanin rayuwarsa dalla-dalla ba. An kira shi mafi sirrin mutum a duniya a cikin labarin da Nicole Hirsch "Jascha Heifetz - Sarkin sarakuna na Violin", wanda shine daya daga cikin 'yan kaɗan dauke da bayanai masu ban sha'awa game da rayuwarsa, halinsa da halinsa.

Ya yi kama da katanga daga duniyar da ke kewaye da shi tare da bango mai girman kai na ƙetare, ya ba da damar kawai wasu, zaɓaɓɓu, su duba shi. "Yana ƙin taron jama'a, hayaniya, abincin dare bayan wasan kwaikwayo. Ko da ya taba kin gayyatar Sarkin Denmark, inda ya sanar da mai martaba cewa ba ya zuwa ko'ina bayan ya buga wasa.

An haifi Yasha, ko kuma Iosif Kheyfets (sunan da ake kira Yasha a lokacin ƙuruciya, sa'an nan ya zama wani nau'i na zane-zane na fasaha) an haife shi a Vilna a ranar 2 ga Fabrairu, 1901. Kyawun Vilnius na yau, babban birnin Tarayyar Soviet Lithuania, ya kasance. wani birni mai nisa da matalautan Yahudawa ke zaune, yana yin duk wani abu na fasaha da ba za a iya tunani ba - matalauta, wanda Sholom Aleichem ya kwatanta da launi.

Mahaifin Yasha Reuben Heifetz ɗan wasan klezmer ne, ɗan wasan violin da ke wasa a wurin bukukuwan aure. Sa’ad da ya ke da wuya musamman, shi da ɗan’uwansa Nathan suka zagaya a tsakar gida, suna fitar da kobo ɗaya don abinci.

Duk wanda ya san mahaifin Heifetz ya yi iƙirarin cewa yana da baiwar kiɗan da ba ƙasa da ɗansa ba, kuma kawai rashin fata fata a cikin ƙuruciyarsa, rashin yiwuwar samun ilimin kiɗan, ya hana basirarsa ta haɓaka.

A cikin Yahudawa, musamman mawaƙa, wanne ne bai yi mafarkin mai da ɗansa “mai-san violin ga dukan duniya ba”? Don haka mahaifin Yasha tun yana dan shekara 3, tuni ya siyo masa violin ya fara koya masa da wannan kayan aikin da kansa. Duk da haka, yaron ya samu ci gaba cikin sauri har mahaifinsa ya yi gaggawar tura shi karatu tare da shahararren malamin violin na Vilna Ilya Malkin. A lokacin da yake da shekaru 6, Yasha ya ba da wasan kwaikwayo na farko a birninsa, bayan haka an yanke shawarar kai shi St. Petersburg zuwa sanannen Auer.

Dokokin daular Rasha sun hana Yahudawa zama a St. Petersburg. Wannan yana buƙatar izini na musamman daga 'yan sanda. Duk da haka, darektan gidan ra’ayin mazan jiya A. Glazunov, da ikon ikonsa, yawanci yakan nemi irin wannan izini ga ’yan makarantarsa ​​masu hazaka, wanda har da wasa ake masa lakabi da “sarkin Yahudawa.”

Domin Yasha ya zauna tare da iyayensa Glazunov yarda da mahaifin Yasha a matsayin dalibi a Conservatory. Wannan shine dalilin da ya sa jerin sunayen Auer daga 1911 zuwa 1916 sun haɗa da Heifetz guda biyu - Yusufu da Ra'ubainu.

Da farko, Yasha ya yi karatu na ɗan lokaci tare da Adjunct Auer, I. Nalbandyan, wanda, a matsayin mai mulkin, ya yi duk aikin shirye-shiryen tare da ɗaliban mashahurin farfesa, daidaita kayan aikin su na fasaha. Auer ya ɗauki yaron a ƙarƙashin reshe, kuma nan da nan Heifetz ya zama tauraro na farko a cikin taurari masu haske na dalibai a ɗakin ajiyar.

Haƙiƙa na farko na Heifetz, wanda nan da nan ya kawo masa kusan shaharar duniya, wasan kwaikwayo ne a Berlin a jajibirin yakin duniya na farko. Yaron mai shekaru 13 yana tare da Artur Nikish. Kreisler, wanda ya halarta a wurin wasan kwaikwayo, ya ji yana wasa kuma ya ce: “Da farin ciki zan karya violin na yanzu!”

Auer yana son ciyar da lokacin bazara tare da ɗalibansa a cikin kyakkyawan gari na Loschwitz, wanda ke bakin gabar Elbe, kusa da Dresden. A cikin littafinsa Daga cikin Mawakan, ya ambaci wani kide-kide na Loschwitz wanda Heifetz da Seidel suka yi wasan kwaikwayon Bach's Concerto don violins guda biyu a cikin ƙaramin D. Mawaƙa daga Dresden da Berlin sun zo don sauraron wannan wasan kwaikwayo: “Baƙi sun ji daɗi sosai da tsabta da haɗin kai na salon, ikhlasi mai zurfi, ba tare da ma'anar cikakkiyar fasahar da duka yaran da ke cikin rigunan jirgin ruwa, Jascha Heifetz da Toscha Seidel suka buga ba. wannan kyakkyawan aiki."

A cikin wannan littafi, Auer ya bayyana yadda barkewar yaƙi ya same shi tare da ɗalibansa a Loschwitz, da kuma dangin Heifets a Berlin. An kiyaye Auer a ƙarƙashin kulawar 'yan sanda mafi girma har zuwa Oktoba, kuma Kheyfetsov har zuwa Disamba 1914. A watan Disamba, Yasha Kheyfets da mahaifinsa sun sake bayyana a Petrograd kuma sun sami damar fara karatu.

Auer ya shafe watannin bazara na 1915-1917 a Norway, a kusa da Christiania. A lokacin rani na 1916 ya kasance tare da dangin Heifetz da Seidel. "Tosha Seidel yana komawa kasar da aka san shi. Sunan Yasha Heifetz ya kasance wanda bai saba da jama'a ba. Duk da haka, abin da ya burge shi ya samo a cikin ɗakin karatu na ɗaya daga cikin manyan jaridun Christiania wani labarin Berlin na 1914, wanda ya ba da bita mai ban sha'awa game da rawar da Heifetz ya yi a wani taron kade-kade da Arthur Nikisch ya gudanar a Berlin. Sakamakon haka, an sayar da tikitin kide-kide na Heifetz. Seidel da Heifetz ne Sarkin Yaren mutanen Norway ya gayyace shi kuma suka yi a fadarsa Bach Concerto, wanda a cikin 1914 baƙi Loschwitz suka yaba. Waɗannan su ne matakan farko na Heifetz a fagen fasaha.

A lokacin rani na 1917, ya sanya hannu kan kwangilar tafiya zuwa Amurka kuma ta hanyar Siberiya zuwa Japan, ya koma California tare da iyalinsa. Yana da wuya ya yi tunanin a lokacin cewa Amurka za ta zama gidansa na biyu kuma zai zo Rasha sau ɗaya kawai, wanda ya riga ya balaga, a matsayin baƙo.

Sun ce wasan kwaikwayo na farko a zauren Carnegie na New York ya jawo babban rukuni na mawaƙa - masu pianists, violin. Wasan ya yi nasara mai ban mamaki kuma nan da nan ya sanya sunan Heifetz ya shahara a cikin da'irar kade-kade na Amurka. "Ya yi wasa kamar abin allahntaka duka virtuoso violin repertoire, kuma taɓawar Paganini bai taɓa zama kamar diabolical ba. Misha Elman ya kasance a cikin zauren tare da dan wasan pian Godovsky. Ya matso gareshi, "Baka ga yana da zafi sosai a nan ba?" Kuma a cikin mayar da martani: "Ba don wani pianist ba."

A Amurka, da kuma ko'ina cikin Yammacin duniya, Jascha Heifetz ya zama matsayi na farko a tsakanin 'yan wasan violin. Sunansa yana da ban sha'awa, almara. "A cewar Heifetz" suna kimanta sauran, har ma da manyan masu yin wasan kwaikwayo, suna watsi da bambance-bambancen salo da na mutum. “Mafi girman violin na duniya sun san shi a matsayin ubangidansu, a matsayin abin koyi. Ko da yake waƙar a halin yanzu ba ta kasance matalauta tare da manyan ’yan wasan violin ba, amma da zaran ka ga Jascha Heifets yana fitowa a kan dandalin, nan da nan za ku fahimci cewa ya fi kowa girma. Bugu da ƙari, koyaushe kuna jin shi kaɗan a nesa; ba ya murmushi a falo; Da kyar ya kalleta. Yana riƙe da violin ɗinsa - Guarneri na 1742 mallakar Sarasata sau ɗaya - tare da tausayi. An san shi zai bar shi a cikin shari'ar har zuwa lokacin ƙarshe kuma bai taɓa yin aiki ba kafin ya tafi mataki. Ya rike kansa kamar basarake yana sarauta a kan dandalin. Zaure ya daskare yana maida numfashi yana yaba mutumin nan.

Lallai, waɗanda suka halarci kide-kide na Heifetz ba za su taɓa mantawa da irin abubuwan alfaharinsa na sarauta ba, yanayin yanayinsa, 'yanci mara iyaka yayin wasa da ƙaramin motsi, har ma fiye da haka za su tuna da ƙarfin tasirin tasirinsa na ban mamaki.

A cikin 1925, Heifetz ya sami ɗan ƙasar Amurka. A cikin 30s ya kasance gunki na jama'ar kiɗa na Amurka. Wasan nasa yana yin rikodin ta manyan kamfanoni na gramophone; yana yin fina-finai a matsayin mai fasaha, ana yin fim game da shi.

A 1934, ya ziyarci Tarayyar Soviet a lokaci guda. Kwamishinan Harkokin Waje na Jama'a MM Litvinov ya gayyace shi zuwa rangadinmu. A kan hanyar zuwa Tarayyar Soviet Kheifets ya wuce Berlin. Nan da nan Jamus ta shiga cikin farkisanci, amma babban birnin har yanzu yana so ya saurari sanannen violin. An gaishe Heifets da furanni, Goebbels ya nuna sha'awar cewa shahararren mawakin ya girmama Berlin tare da kasancewarsa kuma ya ba da kide-kide da yawa. Duk da haka, dan wasan violin ya ƙi yarda.

Kide-kiden da ya yi a Moscow da Leningrad suna tara masu sauraro masu sha'awa. Ee, kuma ba abin mamaki ba - fasahar Heifetz ta tsakiyar 30s ta kai cikakkiyar balaga. Da yake mayar da martani ga kide-kide nasa, I. Yampolsky ya rubuta game da "cikakkiyar kida mai cike da jini", "daidaicin magana." "Aikin fasaha yana da babban fa'ida kuma yana da fa'ida sosai. Ya haɗu da babban ƙarfin hali da virtuoso haske, bayyananniyar filastik da nau'i na bi. Ko yana wasa ƙaramar kayan kwalliya ko Brahms Concerto, shima yana ba da su kusa. Shi ma baƙon abu ne ga sha’awa da ƙasƙanci, son rai da ɗabi’a. A cikin Andante daga Mendelssohn's Concerto babu "Mendelssohnism", kuma a cikin Canzonetta daga Tchaikovsky's Concerto babu wani bacin rai na "chanson triste", wanda aka saba a cikin fassarar 'yan wasan violin… wannan kamewa ba ya nufin sanyi .

A Moscow da Leningrad, Kheifets ya sadu da tsoffin abokansa a cikin Auer's class - Miron Polyakin, Lev Tseytlin, da sauransu; ya kuma sadu da Nalbandyan, malami na farko wanda ya taɓa shirya shi don karatun Auer a St. Petersburg Conservatory. Tunawa da abin da ya faru a baya, ya yi tafiya tare da corridors na conservatory da suka taso shi, ya daɗe yana tsaye a cikin azuzuwan, inda ya taɓa zuwa ga babban malaminsa kuma mai nema.

Babu wata hanyar da za a iya gano rayuwar Heifetz a cikin tsari na lokaci-lokaci, yana da ɓoye sosai daga idanu masu ɓoyewa. Amma bisa ga ma'anar ginshiƙan labaran jaridu da mujallu, bisa ga shaidar mutanen da suka sadu da shi, wanda zai iya samun ra'ayi na uXNUMXbuXNUMXbhis hanyar rayuwa, hali da hali.

"A kallon farko," in ji K. Flesh, "Kheifetz yana ba da ra'ayi na mutum mai phlegmatic. Siffofin fuskarsa kamar babu motsi, tsauri; amma wannan abin rufe fuska ne kawai wanda yake ɓoye ainihin abin da yake ji. Heifetz cikin raha yana kwaikwayon wasan ɗaliban matsakaici.

Nicole Hirsch kuma ya lura da irin waɗannan siffofi. Har ila yau, ta rubuta cewa Heifetz sanyi da girman kai na waje ne kawai: a gaskiya, yana da ladabi, ko da kunya, kuma mai kirki a zuciya. Alal misali, a birnin Paris, da son rai ya ba da kide-kide don amfanin tsofaffin mawaƙa. Har ila yau, Hirsch ya ambaci cewa yana da sha'awar yin barkwanci, barkwanci kuma ba ya ƙin jefa wasu lambar ban dariya tare da ƙaunatattunsa. A wannan lokacin, ta buga wani labari mai ban dariya tare da impresario Maurice Dandelo. Da zarar, kafin a fara wasan, Kheifets ya kira Dandelo, wanda ke da iko, zuwa dakinsa na fasaha kuma ya nemi ya biya shi kudi nan da nan tun kafin wasan.

“Amma ba a taɓa biyan mai fasaha kafin wasan kwaikwayo.

– Nace.

- Ah! Ku bar ni!

Da waɗannan kalmomi, Dandelo ya jefa ambulan tare da kuɗi akan tebur kuma ya tafi wurin sarrafawa. Bayan wani lokaci, ya dawo don gargaɗi Heifetz game da shiga cikin mataki kuma… ya sami ɗakin babu kowa. Babu mai kafa, babu harka mai violin, babu baiwar Jafan, babu kowa. Ambulaf kawai akan tebur. Dandelo ya zauna a teburin kuma ya karanta: “Maurice, kada ku biya ma’aikacin fasaha kafin wasan kwaikwayo. Duk mun je sinima.”

Mutum zai iya tunanin halin da impresario yake. A gaskiya ma, duk kamfanin ya ɓoye a cikin ɗakin yana kallon Dandelo da jin dadi. Sun dade sun kasa jurewa wannan wasan barkwanci suka fashe da daria mai karfi. Duk da haka, Hirsch ya kara da cewa, Dandelo ba zai taba mantawa da guguwar sanyi da ta gangaro masa a wannan maraice ba har zuwa karshen kwanakinsa.

Gabaɗaya, labarinta ya ƙunshi cikakkun bayanai masu ban sha'awa da yawa game da halayen Heifetz, abubuwan dandanonsa da yanayin iyali. Hirsch ya rubuta cewa idan ya ƙi gayyatar zuwa liyafar cin abinci bayan wasan kwaikwayo, saboda yana so ne, ya gayyaci abokai biyu ko uku zuwa otal ɗinsa, don yanke kajin da ya dafa da kansa. “Ya buɗe kwalaben shampagne, ya canza kayan sawa zuwa gida. Mai zane yana jin sai mutum mai farin ciki.

Yayin da yake a birnin Paris, yana duban duk kantunan gargajiya, kuma yana shirya wa kansa abinci mai kyau. "Ya san adiresoshin dukkan bistros da girke-girke na lobsters irin na Amurka, wanda ya fi cin abinci da yatsunsa, tare da rigar rigar a wuyansa, yana mantawa game da shahara da kiɗa ..." Samun shiga wata ƙasa, tabbas yana ziyartar ta. abubuwan jan hankali, gidajen tarihi; Yana da kyau a cikin harsunan Turai da yawa - Faransanci (har zuwa yarukan gida da jargon gama gari), Ingilishi, Jamusanci. Haskaka ya san adabi, wakoki; mahaukaci cikin soyayya, alal misali, tare da Pushkin, wanda ya kawo wakokinsa da zuciya. Duk da haka, akwai rashin fahimta a cikin dandano na adabinsa. A cewar 'yar uwarsa, S. Heifetz, yana kula da aikin Romain Rolland a hankali, yana ƙin shi don "Jean Christophe".

A cikin kiɗa, Heifetz ya fi son na gargajiya; ayyukan mawaƙa na zamani, musamman na “hagu,” ba kasafai suke gamsar da shi ba. A lokaci guda, yana son jazz, ko da yake wasu nau'o'insa ne, tun da nau'in kiɗan jazz na rock da nadi suna ba shi tsoro. “Wata rana da yamma na je gidan wasan kwaikwayo na gida don sauraron wani mashahurin mai wasan barkwanci. Nan take aka ji karar dutse da nadi. Na ji kamar na rasa hayyacinsa. Maimakon haka, ya zaro gyale, ya yayyage shi gunduwa-gunduwa ya toshe kunnuwansa…”.

Matar Heifetz ta farko ita ce fitacciyar jarumar fina-finan Amurka Florence Vidor. Kafin shi, ta yi aure da wani hazikin daraktan fim. Daga Florence, Heifetz ya bar yara biyu - ɗa da 'yar. Ya koya musu duka su buga violin. 'Yar ta ƙware wannan kayan aikin fiye da ɗan. Ta kan raka mahaifinta yawon shakatawa. Amma ga ɗa, violin yana sha'awar shi zuwa ƙananan ƙananan, kuma ya fi son shiga ba a cikin kiɗa ba, amma a cikin tattara takardun shaida, yana fafatawa a wannan tare da mahaifinsa. A halin yanzu, Jascha Heifetz yana daya daga cikin mafi kyawun tarin kayan girka a duniya.

Heifetz yana rayuwa kusan koyaushe a California, inda yake da nasa villa a cikin kyakkyawan yanki na Los Angeles na Beverly Hill, kusa da Hollywood.

Gidan villa yana da kyawawan filaye don kowane nau'in wasanni - filin wasan tennis, tebur na ping-pong, wanda zakara wanda ba zai iya cin nasara ba shine mai gidan. Heifetz ƙwararren ɗan wasa ne - yana ninkaya, yana tuka mota, yana buga wasan tennis sosai. Saboda haka, tabbas, har yanzu, ko da yake ya riga ya wuce shekaru 60, yana mamaki da vivacity da ƙarfin jiki. Bayan 'yan shekaru da suka wuce, wani abu mara kyau ya faru da shi - ya karya kwatangwalo kuma ya kasance ba tare da tsari ba har tsawon watanni 6. Duk da haka, jikinsa na ƙarfe ya taimaka wajen fita daga wannan labarin lafiya.

Heifetz ƙwararren ma'aikaci ne. Har yanzu yana buga violin da yawa, kodayake yana aiki a hankali. Gabaɗaya, a rayuwa da kuma a cikin aiki, yana da tsari sosai. Ƙungiya, tunani kuma yana nunawa a cikin aikinsa, wanda ko da yaushe yakan faru tare da sculptural korar sigar.

Yana son kiɗan ɗakin gida kuma sau da yawa yana kunna kiɗa a gida tare da ɗan wasa Grigory Pyatigorsky ko violist William Primrose, da kuma Arthur Rubinstein. "Wani lokaci suna ba da ' zaman luxe' don zaɓar masu sauraro na mutane 200-300."

A cikin 'yan shekarun nan, Kheifets ya ba da kide-kide da wuya sosai. Saboda haka, a 1962, ya ba kawai 6 concert - 4 a Amurka, 1 a London da kuma 1 a Paris. Yana da arziki sosai kuma bangaren abin duniya baya sha'awar sa. Nickel Hirsch ya bayar da rahoton cewa, daga kudaden da aka samu daga fayafai 160 na bayanan da ya yi a lokacin rayuwarsa ta fasaha, zai iya rayuwa har zuwa karshen kwanakinsa. Marubucin tarihin ya kara da cewa a cikin shekarun da suka gabata, Kheifetz ba kasafai yake yin aiki ba - ba fiye da sau biyu a mako ba.

Sha'awar kiɗan Heifetz yana da faɗi sosai: ba wai kawai ɗan wasan violin ba ne, har ma da kyakyawan jagora, kuma baya ga mawaƙa mai hazaka. Yana da rubuce-rubucen kide-kide na aji daya da yawa da dama na ainihin ayyukansa na violin.

A cikin 1959, an gayyaci Heifetz don ɗaukar farfesa a cikin violin a Jami'ar California. Ya karbi dalibai 5 da 8 a matsayin masu sauraro. Ɗaya daga cikin ɗalibansa, Beverly Somah, ta ce Heifetz yana zuwa aji da violin kuma yana nuna dabarun wasan kwaikwayo a hanya: “Waɗannan zanga-zangar suna wakiltar wasan violin mafi ban mamaki da na taɓa ji.”

Bayanin bayanin ya ba da rahoton cewa Heifetz ya nace cewa ɗalibai su yi aiki yau da kullun akan ma'auni, wasa Bach's sonatas, Kreutzer's etudes (wanda koyaushe yana wasa da kansa, yana kiran su "Littafi Mai Tsarki na") da Carl Flesch's Basic Etudes for Violin Ba tare da Baka ba. Idan wani abu ba shi da kyau tare da ɗalibin, Heifetz ya ba da shawarar yin aiki a hankali a wannan ɓangaren. Da yake raba kalmomi ga ɗalibansa, ya ce: “Ku zama masu sukanku. Kada ku huta a kan ku, kada ku ba wa kanku rangwame. Idan wani abu bai same ku ba, kada ku zargi violin, kirtani, da sauransu. Faɗa wa kanku laifina ne, kuma ku yi ƙoƙarin gano dalilin gazawar ku da kanku. ”

Kalmomin da suka kammala tunaninsa kamar na yau da kullun. Amma idan ka yi tunani game da shi, daga gare su za ka iya zana karshe game da wasu fasali na pedagogical Hanyar na babban artist. Ma'auni… sau nawa ɗaliban violin ba sa ba su mahimmanci, da yawan amfani da mutum zai iya samu daga gare su wajen ƙware dabarun sarrafa yatsa! Yaya Heifetz mai aminci kuma ya kasance zuwa makarantar gargajiya ta Auer, yana dogaro har zuwa yanzu akan tsarin Kreutzer! Kuma, a ƙarshe, menene mahimmancin da yake ba wa ɗalibin aiki mai zaman kansa, ikonsa na tunani, halin da ya dace ga kansa, wane irin ka'ida mai tsauri a bayan duk wannan!

A cewar Hirsch, Kheifets bai karɓi 5 ba, amma ɗalibai 6 sun shiga cikin ajinsa, kuma ya zaunar da su a gida. “Kowace rana suna saduwa da maigidan kuma suna amfani da shawararsa. Ɗaya daga cikin ɗalibansa, Eric Friedman, ya yi nasara ta farko a London. A 1962 ya ba da kide-kide a Paris"; a shekarar 1966 ya samu lambar yabo ta kasa da kasa gasar Tchaikovsky a Moscow.

A ƙarshe, ana samun bayanai game da koyarwar Heifetz, da ɗan bambanta da na sama, a cikin wata kasida ta wani ɗan jarida ɗan Amurka daga “Marecen Asabar”, wanda mujallar “Musical Life” ta sake bugawa: “Yana da kyau a zauna tare da Heifetz a cikin sabon ɗakinsa da ke kallon Beverly. Tuddai. Gashin mawakin ya koma launin toka, ya zama dan damfara, alamun shekarun da suka shude a fuskarsa na gani, amma idanunsa masu haske har yanzu suna haskakawa. Yana son yin magana, kuma yana magana cikin sha'awa da gaske. A kan mataki, Kheifets yana da sanyi kuma an ajiye shi, amma a gida shi mutum ne daban. Dariyarsa tana jin dadi da walwala, kuma yana nuna furuci idan ya yi magana.”

Tare da ajinsa, Kheifetz yana aiki sau 2 a mako, ba kowace rana ba. Kuma kuma, kuma a cikin wannan labarin, game da ma'auni ne wanda yake buƙatar yin wasa akan gwaje-gwajen karɓa. "Heifetz yana la'akari da su ginshiƙan ƙwarewa." “Yana da matukar bukata kuma, bayan ya karbi dalibai biyar a 1960, ya ki yarda biyu kafin hutun bazara.

"Yanzu ina da dalibai biyu kawai," in ji shi, yana dariya. “Ina jin tsoron cewa a ƙarshe zan zo wata rana a ɗakin taro marar kowa, in zauna ni kaɗai na ɗan lokaci in koma gida. - Kuma ya kara da cewa da gaske: Wannan ba masana'anta ba ne, ba za a iya kafa samar da yawan jama'a a nan ba. Yawancin dalibana ba su da horon da ya kamata.”

"Muna matukar bukatar kwararrun malamai," in ji Kheyfets. "Babu wanda ke wasa da kansa, kowa yana iyakance ga bayanin baka ..." A cewar Heifets, ya zama dole cewa malamin ya yi wasa da kyau kuma zai iya nuna wa ɗalibin wannan ko wannan aikin. "Kuma babu wani dalili na ka'idar da zai iya maye gurbin hakan." Ya ƙare gabatar da tunaninsa game da koyarwa da kalmomin: “Babu kalmomin sihiri da za su iya tona asirin fasahar violin. Babu maɓalli, wanda zai isa a danna don kunna daidai. Dole ne ku yi aiki tuƙuru, to violin ɗinku kawai zai yi sauti.

Ta yaya duk wannan ya dace da halayen koyarwa na Auer!

Yin la'akari da salon wasan kwaikwayon Heifetz, Carl Flesh yana ganin wasu matsananciyar sanduna a cikin wasansa. A cikin ra'ayinsa, Kheifets wani lokaci yana wasa "da hannu ɗaya", ba tare da haɗin gwiwar motsin rai ba. "Duk da haka, lokacin da wahayi ya zo masa, babban mai zane-zane ya farka. Irin waɗannan misalan sun haɗa da fassararsa na Sibelius Concerto, sabon abu a cikin launuka masu fasaha; Tana kan kaset. A waɗancan lokuta lokacin da Heifetz ke wasa ba tare da ƙwazo ba, wasansa, mai sanyi mara tausayi, ana iya kwatanta shi da wani mutum-mutumi na marmara mai ban mamaki. A matsayinsa na violinist, koyaushe yana shirye don komai, amma, a matsayin mai zane, ba koyaushe yake cikin ciki ba .. "

Nama yayi daidai wajen nuna sandunan aikin Heifetz, amma, a ra'ayinmu, yayi kuskure sosai wajen bayyana ainihin su. Kuma mawaƙin mai irin wannan arzikin zai iya yin wasa da “hannu ɗaya”? Ba abu ne mai yiwuwa ba! Batun, ba shakka, wani abu ne daban - a cikin ainihin ɗabi'ar Heifets, a cikin fahimtarsa ​​game da al'amuran kiɗa daban-daban, a cikin kusancinsa zuwa gare su. A Heifetz, a matsayin mai zane-zane, kamar dai ka'idoji guda biyu suna adawa da juna, suna hulɗa da juna tare da haɗin kai, amma ta hanyar da a wasu lokuta daya ya mamaye, a wasu. Waɗannan mafarin suna da matuƙar “na al’ada” da bayyanawa da ban mamaki. Ba daidaituwa ba ne cewa Flash ya kwatanta yanayin wasan Heifetz na "sanyi mara tausayi" tare da kyakkyawan mutum-mutumi na marmara mai ban mamaki. A cikin irin wannan kwatancen, akwai fahimtar babban kamala, kuma ba zai yuwu ba idan Kheifets ya buga "da hannu ɗaya" kuma, a matsayin mai zane, ba zai kasance "shirye" don yin aiki ba.

A cikin ɗaya daga cikin labaransa, marubucin wannan aikin ya bayyana salon wasan kwaikwayon Heifetz a matsayin salon "high classicism" na zamani. Da alama a gare mu wannan ya fi dacewa da gaskiya. A gaskiya ma, ana fahimtar salon gargajiya a matsayin mai girma kuma a lokaci guda m fasaha, tausayi kuma a lokaci guda mai tsanani, kuma mafi mahimmanci - sarrafawa ta hanyar hankali. Classicism salo ne na hankali. Amma bayan haka, duk abin da aka faɗa yana da amfani sosai ga Heifets, a kowane hali, ga ɗaya daga cikin "sanduna" na fasahar wasan kwaikwayonsa. Bari mu sake tunawa game da tsari a matsayin wata alama ta musamman ta yanayin Heifetz, wanda kuma ke bayyana kanta a cikin ayyukansa. Irin wannan dabi'a ta al'ada ta tunanin kide-kide wata siffa ce ta mai gargajiya, kuma ba ta soyayya ba.

Mun kira sauran "sanduna" na fasaha nasa "babban ban mamaki", kuma nama ya nuna wani kyakkyawan misali na shi - rikodin Sibelius Concerto. Anan komai ya tafasa, yana tafasa a cikin zuzzurfan tunani; babu ko ɗaya "marasa sha'awa", "marasa amfani" bayanin kula. Duk da haka, wutar sha'awa tana da ma'ana mai tsanani - wannan ita ce wutar Prometheus.

Wani misali na salon ban mamaki na Heifetz shine wasan kwaikwayo na Brahms Concerto, mai ƙarfi sosai, cike da ƙarfin wuta na gaske. Yana da halayyar cewa a ciki Heifets ya jaddada ba romantic, amma na gargajiya farkon.

Ana yawan faɗin Heifetz cewa yana riƙe ka'idodin makarantar Auerian. Koyaya, menene ainihin kuma waɗanne yawanci ba a nuna su ba. Wasu abubuwan da ke cikin littafinsa suna tunatar da su. Heifetz ya ci gaba da yin ayyukan da aka taɓa yin nazari a cikin ajin Auer kuma kusan sun riga sun bar repertoire na manyan ƴan wasan kide-kide na zamaninmu - concertos na Bruch, Vietana na huɗu, Ernst's Hungarian Melodies, da sauransu.

Amma, ba shakka, ba kawai wannan ya haɗa ɗalibi da malami ba. Makarantar Auer ta haɓaka bisa manyan hadisai na fasahar kayan aiki na ƙarni na XNUMX, wanda ke da ban sha'awa na kayan kida na "murya". Cikakken jini, mai arziki cantilena, wani nau'in bel canto mai girman kai, kuma ya bambanta wasan Heifetz, musamman lokacin da yake rera waƙar Schubert's "Ave, Marie". Duk da haka, "vocalization" na Heifetz's instrumental jawabin ya ƙunshi ba kawai a cikin "belcanto", amma fiye da a cikin wani zafi, declamatory intonation, reminiscent na singer ta m monologues. Kuma a wannan yanayin, shi, watakila, ba magajin Auer ba ne, amma maimakon Chaliapin. Lokacin da kake sauraron wasan kwaikwayo na Sibelius wanda Heifets ya yi, sau da yawa irin nau'in kalmominsa, kamar dai "matsi" makogwaro daga gwaninta da kuma "numfashi", "shigarwa", yayi kama da karatun Chaliapin.

Dogaro da al'adun Auer-Chaliapin, Kheifets, a lokaci guda, yana sabunta su sosai. Fasahar karni na 1934 ba ta saba da kuzarin da ke cikin wasan Heifetz ba. Bari mu sake nunawa Brahms Concerto wanda Heifets ya buga a cikin "ƙarfe", da gaske ostinato rhythm. Bari mu kuma tuna da layin da aka bayyana na Yampolsky's review (XNUMX), inda ya rubuta game da rashin "Mendelssohnism" a cikin Mendelssohn's Concerto da elegiac baƙin ciki a cikin Canzonette daga Tchaikovsky's Concerto. Daga wasan Heifetz, sabili da haka, abin da ya kasance mai mahimmanci na wasan kwaikwayon na karni na XNUMX ya ɓace - jin dadi, tasiri mai mahimmanci, soyayyar soyayya. Kuma wannan duk da cewa Heifetz yakan yi amfani da glissando, tart portamento. Amma su, haɗe da lafazi mai kaifi, suna samun sauti mai ban mamaki mai ƙarfin hali, wanda ya sha bamban da ƙwaƙƙwaran ƙwaƙƙwaran violin na ƙarni na XNUMX da farkon ƙarni na XNUMX.

Ɗayan mai zane, ko ta yaya faɗi da nau'i-nau'i daban-daban, ba zai taba samun damar yin la'akari da duk abubuwan da suka dace na zamanin da yake rayuwa ba. Kuma duk da haka, lokacin da kuka yi tunani game da Heifetz, kuna da ra'ayin cewa yana cikinsa, a cikin dukkan kamanninsa, a cikin dukkan fasaharsa na musamman, cewa abubuwa masu mahimmanci, masu mahimmanci da bayyanannun abubuwan zamani sun ƙunshi.

L. Rabin, 1967